These tropes ain't big enough for the both of us...
Sparks are an American band who formed in 1970 in Los Angeles and are notably still active today. The band officially consists of only brothers Ron (keyboards, songwriting, questionable mustache) and Russell Mael (vocals), but over the years they have accumulated a large amount of ex-members and session musicians. The duo's style is characterized by their whimsically over-the-top songwriting, their funny, witty lyrics, Russell's falsetto, and a quirky stage presence which plays with the contrast between Russell's hyperactive Face of the Band attitude and Ron's deliberately stiff and taciturn stage persona.The group intially formed under the name Halfnelson, but changed it to Sparks shortly after the release of their debut. After releasing two quirky, Zappa-esque albums that were largely ignored in their homeland, the Maels decided to try their luck on the other side of the Atlantic and relocated to England. It was there that they reached their popular (and arguably most creative) peak in 1974 with third album Kimono My House, a fusion of glam-rock and dance-pop sensibilities with wry and clever stories, which spawned a surprise number two hit single with their Signature Song "This Town Ain't Big Enough For the Both Of Us".They followed it up with Propaganda the same year and Indiscreet the next, which were essentially a continuation of the Kimono sound (to continued success), after which they returned to the United States and fell into obscurity starting with the heavier Big Beat. During the next few decades they would go on to make over a dozen albums in which they would flirt with many different genres, including disco with No. 1 In Heaven (produced by Giorgio Moroder) and an uninspired New Wave Music/synthpop period in the '80s which is generally agreed upon as awful (Angst In My Pants, Pulling Rabbits Out of a Hat, Interior Design).They had a brief resurgences of popularity (especially in Europe) with 1979's No. 1 in Heaven, 1980's Terminal Jive (which made them One Hit Wonders in France) and 1994's Europop-tastic Gratuitous Sax and Senseless Violins, until finally the release of the New Sound AlbumLil' Beethoven in 2002 sparked renewed interest in the duo and led to much acclaim in both the UK and the US. Ever since 2002's success, the band has been making music that's a mocking combination of house, Progressive Rock, Baroque Pop and straight-up classical music. The new style paved the way for a productive decade that resulted in the rock-oriented follow-ups, Hello Young Lovers and Exotic Creatures of the Deep. Their latest work, The Seduction of Ingmar Bergman, is a musical Ron and Russell composed for a Swedish radio station.The band underwent a Two Hands, One Mouth tour in 2012, stripping their music back to Ron's keyboards and Russell's vocals to great success. Their first live album, culled from the tour, followed in 2013. The Revenge of Two Hands, One Mouth Tour followed shortly after.Despite being criminally overlooked during much of their career, the duo are very highly regarded (Morrissey, They Might Be Giants, Nirvana, Björk, Ween, Sonic Youth, The Ramones, Duran Duran, Depeche Mode, Def Leppard, New Order, Faith No More, The Pixies and Franz Ferdinand are some of their most notable admirers, and Jonathan Ross calls them "possibly the greatest band on the planet") and their music was crucial to the development of Punk Rock, New Wave and Synth Pop.Discography:
Sparks / Halfnelson (1971)
A Woofer in Tweeter's Clothing (1972)
Kimono My House (1974)
Big Beat (1976)
Introducing Sparks (1977)
No. 1 In Heaven (1979)
Terminal Jive (1980)
Whomp That Sucker (1981)
Angst in My Pants (1982)
In Outer Space (1983)
Pulling Rabbits Out of a Hat (1984)
Music That You Can Dance To (1986)
Interior Design (1988)
Gratuitous Sax & Senseless Violins (1994)
Plagiarism (a Cover Album/tribute album of their older songs, 1997)
Attention Whore: The subject of "Here Comes Bob", which details a man so desperate to have friends, he crashes his car into others. And Buses. And mobile homes. And passenger trains.
Broken Record: The majority of Lil' Beethoven is built around stock phrases and repetition, but it is taken to extremes with "My Baby's Taking Me Home" which, apart from a spoken word monologue delivered by Russell, consists of nothing but the title recited approximately 104 times.
Cover Album: Plagiarism, a cover album of their own songs. It was recorded after the success of Gratuitous Sax and Senseless Violins to introduce their new German fanbase to their older music. It didn't exactly work.
Demoted to Extra: Kimono My House-era bassist Martin Gordon was annoyed when he saw the final album pressing, as on the back the planned band photo had been replaced with a large colour photo of the Mael brothers, with him, guitarist Adrian Fisher and drummer Norman "Dinky" Diamond being relegated to smaller, black-and-white portraits.
Dual Meaning Chorus: "Without Using Hands" has a Title Only Chorus that the verses give different contexts to. The first verse describes men and women meeting up under the shelter of the canopy of the Paris Ritz Hotel in the rain, planning to "love tonight, without using hands". In the second verse, a couple is showing off slides of their vacation at the same hotel to their kids; the children start misbehaving, and the father laments that "the only way children are punished, unlike old times, is without using hands". Finally, it turns out that during this vacation there was an explosion at the hotel - only the hotel manager had any serious injuries, and everyone else seems pretty unconcerned that he's "going to live his entire life... without using hands" (implying he either suffered paralysis or loss of limbs).
"Amateur Hour" (specifically about how Their First Time will always be underwhelming, but eventually "amateur hour" will be over), "Under the Table with Her", "Sextown U.S.A.", "All You Ever Think About is Sex".
"Tryouts for the Human Race" takes it a step further: it's from the point of view of the sperm.
Gratuitous Sax alone has "(When I Kiss You) I Hear Charlie Parker Playing", "Frankly, Scarlett, I Don't Give a Damn", "I Thought I Told You to Wait in the Car", "Hear No Evil, See No Evil, Speak No Evil"
"As I Sit to Play the Organ at the Notre Dame Cathedral"
"I Can't Believe That You Would Fall for All the Crap in This Song"
Lyrical Dissonance: Practically a Trope Codifier. For example, "Here in Heaven" is a rocking, dramatic song about a failed suicide pact, and every other song on Big Beat is a charged Protopunk Rock song about something depressing, cynical, or just outright irreverent.
Mondegreen: Their quirky lyrics+falsetto singing begs for this trope.
Kimono My House is a picture of two geisha girls against a green backgroundnote One of them, Michi Hirota, later contributed Spoken Word In Music to David Bowie's "It's No Game". The cover also didn't have text in its first pressing.
Introducing Sparks is just a bust shot of Russell or Ron, depending on which side you're looking at, against a blue background with the album title. Said bust shots are combined in this page's image above.
Balls is just a colored circle on a gradient background.
Lil' Beethoven is mostly text except for a miniature Beethoven cartoon in the corner.
Mr. Seahorse: "(She Got Me) Pregnant", if you take the song's title literally. It's really about a guy dealing with the emotional consequences of a one-night stand.
Ron made two spoken-word song appearances ("Under the Table with Her" and "Senseless Violins") before finally making his singing debut in The Seduction of Ingmar Burgman as a cab driver and a tour guide. Nearly 40 years after the band formed.
Record Producer: Have DIY-produced the majority of their records starting with In Outer Space. Prior, they made use of Todd Rundgren (Sparks), Muff Winwood (Kimono My House, Propaganda), Tony Visconti (Indiscreet), Rupert Holmes and Jeffrey Lesser (Big Beat), Terry Powell (Introducing Sparks), Giorgio Moroder (No. 1 In Heaven, Terminal Jivenote along with Harold Faltermeyer), and Moroder associate Mack (Whomp That Sucker, Angst in My Pants).
Riches To Rags: The protagonist of "Dick Around" goes through this after his wife leaves him.
Self-Titled Album: Their first album, which was also self-titled when the band were called Halfnelson.
Several songs are shout outs to films. Three songs were written about Gone with the Wind alone.
"(When I Kiss You) I Hear Charlie Parker Playing" namechecks the eponymous saxophonist as well as quoting the famous musical line "And the hills are alive with The Sound of Music".
"Lighten Up, Morrissey" on first glance looks like a Take That, but it is actually a tribute to the eponymous singer. The song's narrator is being brushed off by his girlfriend because Morrissey is so much cooler than him.
Sibling Team: The band's first incarnation consisted of two of these, with the Maels being complemented by Jim and Earle Mankey on bass and guitar.
Sibling Yin-Yang: Deliberately played up by flamboyant frontman Russell and stodgy, button-down keyboardist Ron.
Silly Love Songs: Fairly often: "Wonder Girl", "When I'm With You", "(When I Kiss You) I Hear Charlie Parker Playing". Pulling Rabbits out of a Hat and Hello Young Lovers alternate between this and Anti Love Songs.
Stage Mom: "Talent Is An Asset", to Albert Einstein, no less.
Step Up to the Microphone: Ron provided brief spoken word sections in "Under the Table With Her" and "Senseless Violins", but he finally sang for The Seduction of Ingmar Bergman.
Something Something Leonard Bernstein: On the 70s material, Russell Mael frequently sings in such an odd falsetto that it can often be hard to discern any lines other than the title of the song. A good example is "Here In Heaven".
Synth Pop: Began with No. 1 in Heaven and ran through the 80s and 90s until Balls in 2000. Aside from the former album, which is generally well regarded and was heavily influential to Electronic Music, fans have a Love It or Hate It attitude towards these records.
No. 1 in Heaven also makes them an Ur Example of the "fire and ice"note Passionate vocals set to cold synthesizersSynth Pop duo that grew to popularity in the 80s with bands like Yazoo and Soft Cell.
Three Chords and the Truth: Big Beat is very stripped-down Rock centered on guitars and drums. Fittingly, it was partially inspired by the burgeoning Punk Rock movement in New York. Subverted with its last song "I Like Girls", which employs a full orchestra.
Unplugged Version: The Two Hands One Mouth live tour and its corresponding album, which comprises of stripped-down versions of older material accompanied with just a keyboard and Russell's voice.